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It's Fun to Play the Piano ... Please Pass It On!

Thanks Cus. I really appreciate your encouragement. Playing the bridge felt a bit like finger spelling on the keyboard; the movements were similar to playing a guitar. Needless to say, I played around with it a lot.

The piano teacher already gave me some Youtube links to review:

Michael Wolff

Peter Martin

Mulgrew Miller

And of course, he recommended the Mark Levine Book

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Every disease is a musical problem. Its cure, a musical solution. -- Novalis

The dogs, yes. The piano, maybe. My wife, never. She is my core, the very fiber of my being. My heart, my soul, the absolute and unequivocal love of my life. To me, she is music. And whatever words I use to describe the depths of my feelings for her do little justice to the fact. She is that tonal center to which I resolve, undiminished by our 22 years together. She is music. She is my wife.

_________________________
Every disease is a musical problem. Its cure, a musical solution. -- Novalis

The Jazz Piano Book by Levine has a very nice analysis of Just Friends and harmonization w shell voicings - he does a nice job explaining it.

Just Friends has been my tune of the month - I think it is a great practice tune - has everything - two five ones, diminished, tritones. Been working it up and down the metronome. I guess a lot of people are working on this tune. Everyone should. I mean why Buck Trends?

The Jazz Piano Book by Levine has a very nice analysis of Just Friends and harmonization w shell voicings - he does a nice job explaining it.

Just Friends has been my tune of the month - I think it is a great practice tune - has everything - two five ones, diminished, tritones. Been working it up and down the metronome. I guess a lot of people are working on this tune. Everyone should. I mean why Buck Trends?

My piano instructor regards the Levine book as the essential text for my course with him. Early on in class, he flipped to that harmonization and suggested strongly that I work on it. That was an offer I couldn't refuse.

_________________________
Every disease is a musical problem. Its cure, a musical solution. -- Novalis

Hey Norm and RonI love these types of tunes - everybody seems to know them, but do we really know them ? This tune, as your article points out, gives us harmonic options.The more I study All The Things You Are, the more I think the A section can be interpreted as Db maj, as well as the traditional Ab maj.

NormHow are those jazz lessons going ?

RonCan't remember if I welcomed you but it's great to see you on this thread.

I love these types of tunes - everybody seems to know them, but do we really know them ? This tune, as your article points out, gives us harmonic options.

It was also quite instructive seeing Leibson reverse engineer the song, noting what problems Klenner faced in composition, what substitutions and solutions he used, and how it may have morphed into its final form. As he admits, he may be wrong. But as he states, "I find the speculation worthwhile. The question of how a work is created can lead to fresh perspectives, occasional revelations, and – quite often – to inspiration."

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Every disease is a musical problem. Its cure, a musical solution. -- Novalis

Play Melancholy Baby just one more time! I've said it many times before, but there is a breezy, dreamy, romantic, and in the case of this particular tune, brightly melancholy flavor to your playing. Your harmonizations made it more of what is. Your playing makes you more of who you are.

I'm working on making more of myself too. That's why I'm sticking with the piano teacher. I'm still working on Just Friends. I recorded a version of How High the Blues for him, and I'm learning the difference between Practice and Performance.

There's so much more to learn...

_________________________
Every disease is a musical problem. Its cure, a musical solution. -- Novalis

Hey NormThank you for your kind words and your feedback. I'm glad the cheekiness came through, as I far prefer these versions of Melancholy Baby to the sad ones.I'm two thirds of the way through Andy LaVerne's harmonization book. By spending 10 min a day studying his theory and 15 min a day studying his reharmed songs, I'm gaining my own harmonization vocabulary.

I'm on for listening to your latest How High the Blues. It's great you're developing your own voice. Stick with Just Friends for as long as you like, even spending half a year fully exploring a song is fine.

Are compositions in your goals ? I think they would be a good way for your voice to come out.

Very nice Norm.I can tell that you've been practising your voicings. How are you choosing them ?You're playing the blues version fast, if you slow it down a touch, it might help to get your triplets more even.You are improving in Giant Steps each time.

Very nice Norm.I can tell that you've been practising your voicings. How are you choosing them ?You are improving in Giant Steps each time.

Hi Cus, and welcome 2Shlow!

Wow, I just got the email notice that this thread is back up. Sorry about being AWOL. My piano teacher has swamped me with enough homework (Compings and voicings and heads, Oh My!) to leave little time for JOI.

Anyway, Cus, in answer to your question, the voicings are primarily:

(b)3 (b or #)5 (b)7 (b)9

or

(b)7 (b)9 (b)3 (b or #)5

with an (#)11 or a 13 occasionally added in the right hand for extra spice.

Well, back to the grind.

_________________________
Every disease is a musical problem. Its cure, a musical solution. -- Novalis

Hey NormNice to hear from you. Yeah I'm attracted to the #11 sound and have started to work on it as part of spicing up my ionian chord-scales. As with all things, it's easier in practice than in actual improv application.I agree that it is not practical to work on 2 jazz methods. Glad you're still loving your jazz.